Highland Clothes - a Medieval Tartan Fashion - Article Example

History While plaids or tartans were a highly distinct characteristic in post 1746 era portraits, the details and color of the tartan were of little consequence with the presence of the tartan being the most highly regarded feature. Considered by some historians as more a symbolic dress style, it was thought early on to represent standing and status among society in Scotland. A 1746 Act of Parliament ‘restrained’ the use of highland dress (Nicholson, p150) as Lord Chancellor became aware of how powerful the symbol had become among Scottish people. Many portraits were completed during this time using the tartan as a symbol with layers of fabric used elaborately. One example, John, third Earl of Bute, is a full length portrait commissioned after the early death of his father, which presented Bute in a full length tartan, very glamorous, showing him to be self-confident and preening. This image won him both friends and enemies during his political time of power. By the 1750’s, tartan’s had become associated with both Jacobitism and the Scottish people. Jacobitism was a political movement with the purpose of restoring the Stuart Kings to the thrones of England, Scotland, and Ireland (Jacobitism). English society constantly criticized and ridiculed the tartan and the 1746 Act allowed only military personnel serving King George II to wear what was termed, ‘highland clothes.’ Gaelic for blanket, plaid denotes a type of garment while tartan refers to the actual fabric of the garment. The Act of Parliament on the part of the British hoped to make the Scottish people become more subservient and the law wanted to abolish the dissimilitude of appearance between the Highlanders and the other inhabitants… ( Coltman, p183). Penalties were extremely harsh for those in violation, including six months’ imprisonment for a first offense though it is thought they were often not enforced. Because of this Act, plaid became a highland political currency. Wearing of the plaid and tartan was a clear protest against the British and used by the military. When the Act was repealed in 1782 the tartan had already gained the reputation as forbidden and became a romantic and desired symbol for the Highland Scotts. It was suggested that tartan plaid was distinctively Roman, using folds of fabric in a toga like representation much like the warring Roman’s wore. Though some would believe the tartan and plaid a new fad in the 1700’s, archeologist have actually shown that Celts were weaving plaid for at least three thousand years, using bright colors and intricate patterns, unlike their Egyptian counterparts, who used fabrics of white linen. Though there is no written record of the early Celts there is much archeological evidence. Tartan Production There are many sources in Scotland that are used as fiber in the creation of tartans, each lending a different coarseness and texture with some being very exclusive and others much more common. The blackface sheep is one of the hardiest in Scotland and the Cheviot sheep is a Scottish border breed found in the hilly countryside. More exotic fiber sources include Soay sheep, Afghan Hounds, and the Muskox. Weavers have been known to make use of any fiber source available, constricted only by their own ability and creativity. Shearing or clipping of the sheep usually takes place in June or July, in accordance with seasonal conditions, dogs are used to round up the sheep and packing is completed by hand and foot (Wool…). Wool is usually packed into sheets and the sorting of the wool is one the most highly skilled abilities in the industry. The fleece is thrown into a sheet while others tramp on it to pack it into a compact bale. The sorter will the divide the wool into different portions according to quality and sometimes as many as six qualities of wool are sorted from one color. The finest portion of wool is usually sheared from around the neck with the more course wool coming from around the tail. Carding of the wool is completed by machine now and tangled wool fibers are manipulated into one direction, influencing the appearance, lustre, wearing properties, weight, touch, warmth and feel. The diversity of the tartan is attributed to shades, rather than colors, as the weaver must use the same colors though it is the shades that are different. Chemical dies used after 1855 are brighter, more intense, darker shades. These are considered the modern tartans with ancient palettes being softer and showing the pattern better. Ancient shades became popular in the 1950’s and 60’s and they are often an imitation of natural dyes used before 1860, many derived from vegetable matter (Colours…). Muted palettes are an imitation of tartans long exposed to sun and weather conditions. If the descriptive term, such as modern or ancient, appears after the tartan name it has been made using the weavers own modern or ancient color palette. If modern or ancient appears before the tartan name it refers to the actual age of the tartan. This is often confusing to tartan buyers. The actual dying of the fiber can vary greatly. Mineral salts can be used before and after dying and they will alter the color and fix the dye. Coffee, tea, red cabbage, berries, and many vegetable fruits and fibers are used in natural dying versus chemical means. Traditional dye’s included the bark of the Alder tree, bilberries, Crotal lichens, and Dulse, common seaweed. The first synthetic dyestuff discovered was in 1856 and was known as Perkin’s mauve. There have been continuous advances in chemistry and many natural industries have been destroyed with the creation of new ones. Hundreds of dyestuffs are on the market now. Fibers are dyed in several stages during their manufacture and dying requires much more chemistry knowledge than traditional methods. A dyer is often known by the appropriate ‘fastness’ of his work and each piece will require a different fastness. One the wool has been dyed it becomes ready for spinning. Early spinning devices show that Scotland has been spinning wool for many centuries. Spinning was a source of employment and spinning and weaving was very important to the Scottish textile industry. Today the process is more mechanical than the traditional wheel or spindle that was first used in the process. Some smaller productions still rely on traditional methods though advances have made quality differences very small between the two. Spinning involves arranging the fibers longitudinally and then twisting to give a long continuous thread. The process has only become mechanical within the last century, being entirely completed by hand before that. Once wound into bobbins the fiber is ready to be woven into cloth (Another…). Tartan wool fabric has a very high value and is world renowned. It is also very popular and labels must be true representations of where the wool was made. Modern production methods include dyeing, warping, drawing and weaving. The cloth is then checked and repaired as necessary in a process known as darning and the scouring and finishing of the product will depend on the exact texture. Most will be washed and spun, then brushed to create sheen. Modern Tartans Most tartans today are modern and the one tartan that absolutely cannot be worn by anyone without the permission of the Queen is the Balmoral, designed by Prince Albert in 1853. Tradition, though blurred in modern times, states that those with no tartan design of their own may wear the Black Watch or the Hunting Stewart. Most families and clans will have their own tartan design, with a specific color palette and pattern as well as fabric. The Royal Stewart tartan uses shades of red, green and blue and the Balmoral tartan is red, white and black. The Stewart Mourning tartan uses only shades of black and the Princess Mary tartan uses a beautiful blue and green shade. Many American and Canadian States now have their own tartan designs and business around the globe have distinct and specific tartan designs. The Flower of Scotland was designed and woven in 1991, a tribute to Roy Williamson, the composer of what has become Scotland’s unofficial National Anthem, and is considered one of the most enduring of tartans. Design The design of a tartan will include a minimum of two colors and conventionally a maximum of six. They are usually symmetrical as a pattern and measured in thread count and shades, though colors will not differ between weavers except in cases where corporations or individuals using logo insist the color palette consistently match their pantone. Many tartans will be pleated as part of their design using box or knife pleats to give the design a more aesthetically pleasing appeal. Pleats are characterized by depth and width and the number of pleats used depends upon how much material is to be used. Many places are available where you are able to design your own tartan, choosing colors and pattern, before it is created for you to your specifications. Conclusion The Scottish Register of Scotland is the national repository of tartan designs (The Scottish…). Designs can be registered from any individual, company, designer or team. The database of tartans is searchable; color, tartan name and color proportions choices allow you to locate any tartan previously registered. You are also able to create a proposed design and compare it to designs already registered. Recently registered tartans include a national tartan of Jamaica, registered January 25, 2012 and a commemorative tartan in recognition of the Diamond Jubilee of Queen Elizabeth II, registered January 31, 2012. Works Cited Nicholson, Robin. "From Ramsay's Flora Macdonald To Raeburn's Macnab: The Use Of Tartan As A Symbol Of Identity." Textile History 36.2 (2005): 146-167. Art & Architecture Complete. Web. 1 Feb. 2012. "Jacobitism." SCCS - Swarthmore College Computer Society. Web. 01 Feb. 2012. . Coltman, Viccy. "Party-Coloured Plaid? Portraits Of Eighteenth-Century Scots In Tartan." Textile History 41.2 (2010): 182-216. Art & Architecture Complete. Web. 1 Feb. 2012. "The Celts | Scottish Tartans Authority." Home | Scottish Tartans Authority. Web. 01 Feb. 2012. . "Wool Handling | Scottish Tartans Authority." Home | Scottish Tartans Authority. Web. 01 Feb. 2012. . "Colours & Dyeing | Scottish Tartans Authority." Home | Scottish Tartans Authority. Web. 01 Feb. 2012. . "Another Perspective | Scottish Tartans Authority." Home | Scottish Tartans Authority. Web. 01 Feb. 2012. . The Scottish Register of Tartans. Web. 01 Feb. 2012. . Read More